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Ferruccio Busoni As a Composer Early Journal Content on JSTOR, Free to Anyone in the World This article is one of nearly 500,000 scholarly works digitized and made freely available to everyone in the world by JSTOR. Known as the Early Journal Content, this set of works include research articles, news, letters, and other writings published in more than 200 of the oldest leading academic journals. The works date from the mid-seventeenth to the early twentieth centuries. We encourage people to read and share the Early Journal Content openly and to tell others that this resource exists. People may post this content online or redistribute in any way for non-commercial purposes. Read more about Early Journal Content at http://about.jstor.org/participate-jstor/individuals/early- journal-content. JSTOR is a digital library of academic journals, books, and primary source objects. JSTOR helps people discover, use, and build upon a wide range of content through a powerful research and teaching platform, and preserves this content for future generations. JSTOR is part of ITHAKA, a not-for-profit organization that also includes Ithaka S+R and Portico. For more information about JSTOR, please contact [email protected]. FERRUCCIO BUSONI AS A COMPOSER By HUGO LEICHTENTRITT IT is a common experiencein the history of arts that the world will fail to appreciate an artist, however famous he may be, as soon as he shows an ambition to distinguish himself in a field of activity alien to the one in which he acquired his first fame. Thus it happened to Franz Liszt. His pianistic genius was admired without reserve, unanimously, all the world over, but in his capacity as a composer he had to combat most serious opposition throughout his life, and even now there is a considerable divergence of opinion on this topic, although the importance of Liszt the composer has become sufficiently manifest. Similarly, Ferruccio Busoni is esteemed as a pianist of the first order, but his remarkable achievements as a composer are hardly appreciated at their full value. It is the purpose of the present essay to analyze the rather complicated character of Busoni the composer, to characterize his art, to show its development and to appraise its importance. The artistic career of Busoni may be sketched briefly by way of introduction. Ferruccio Busoni was born on April the 1st, 1866, in Empoli, near Florence. His father was Italian, his mother partially of German descent; this racial mixture in their son is also clearly evident in his compositions, and one of their principal character- istics. He commenced as a child-prodigy, like most of the great musicians. Piano-playing and composition were equally familiar to him, and his skill in both was remarkable even in the years of boyhood. Between eight and thirteen (1874-79) he wrote the compositions which were published as Op. 1-4. He was taught by his mother; later, for several years, he was a pupil of Wilhelm Mayer-Remy in Graz (in Austria), a pedagogue of considerable reputation, who was also the teacher of Kienzl, Heuberger and Weingartner. In 1882 he was made a member of the celebrated Philharmonic Academy of Bologna. In 1888 he became professor at the conservatory of Helsingfors in Finland. There he married shortly afterwards. This residence in Finland was not without importance for his artistic development; just at that time the 69 70 The Musical Quarterly national Finnish school of composition had begun its activity, mustering composers like Kajanus, Jiirnefelt, and especially Sibelius. In 1890 he was awarded the Rubinstein Prize for composition, and for a short time afterwards he held a professorship at the Moscow Conservatory. His international fame dates from about this time. 1891-94 he spent in America, playing and teaching at the New England Conservatory in Boston. From 1894 up to the present time he has lived in Berlin, his residence there being interrupted, however, by frequent tournees all over Europe and America. His pianistic development was straight enough; less so his growth as a composer. For a number of years it was doubtful whether his pianistic gifts or his capacities as a composer were more remarkable. Though the success of his compositions was very encouraging, though he possessed a considerable mastery of the technique of composition even as a youth, he still came to the decision that it would be impossible for him to follow his high artistic ideals and to excel both as a pianist and as a composer. From his twenty-fifth to his thirty-fifth year he concentrated his efforts mainly upon his pianistic studies, slowly developing his individual and unique style of playing. These years of artistic growth were not lost for the composer, although he wrote little during this period. It became evident to him that the traditional style of writing which characterizes his earlier compositions was not the way which could lead him to the goal he had in mind. The problem for him was to develop a personal, individual style, to take an active part in all progressive movements. How he solved this problem will be shown by an analysis of the compo- sitions he has written since about 1900. Almost from year to year one can see the advance into regions hitherto inaccessible, the conquest of new means of expression in harmony, rhythm, and colour. Each new composition of these years was of startling novelty at the time it appeared, and met, as was natural, with strong opposition, which, however, calmed down in a compara- tively short time. Of these mature efforts, each one excels the foregoing as regards new technical devices, new effects of sound, new problems of composition. This does not necessarily mean that in aesthetic, artistic value one work is dethroned by the following-artistic value and novel means of expression are not necessarily in equal ratio. The mile-stones marking this progressively ascending path are the following compositions: Piano concerto, Turandot suite, opera Brautwahl, Elegies and first Sonatina for piano, Berceuse Ferruccio Busoni as a Composer 71 and Nocturne for orchestra, second Sonatina for piano, Indian Fantasy. From the study of these compositions will be seen what contributions the composer Busoni has so far made to the treasure of the world's musical literature, in what manner he has enriched it, and how he reveals new beauties and impressions which only a mind like his could discover and impart. Thus the main stress of this essay will have to be laid on these compositions; the rest (the earlier efforts) will be reviewed somewhat summarily, as preparatory to the real life-work of the artist, although necessary for an understanding of the second half. The earliest published compositions date back as far as 1874-79. These first attempts of the boy were: Op. 1. Ave Maria, for solo voice and piano Op. 2. Ave Maria No. 2, " " " " " Op. 3. Cinq pieces pour piano (Preludio, Menuetto, Gavotte, Etude, Gigue). Op. 1-3, published by Cranz, Leipzig. A six-part mass, a cappella was written while Busoni, as a pupil of Mayer in Graz, also attended the Seminary, where he received instruction in church-music. The second group of compositions, from 1880-85, is much more weighty and ambitious. It comprises a number of pieces, some of which were not published until years afterwards. Op. 4, 5, 6 (Wetzler, Vienna) are piano pieces, a Scherzo, Prelude and Fugue, and Scene de ballet. The second "Scene de Ballet" (Op. 20), and Variations and fugue on Chopin's C minor Prelude (Op. 22), (both published by Breitkopf & Hartel, Leipsic) also belong in this group. The close sequence of scene de ballet, prelude and fugue, variations and fugue, is worthy of remark. Two main characteristic traits of the composer Busoni are already displayed in his beginnings: the light dance-rhythms and the intricate contrapuntal style, the Italian and the German manner. A number of songs are attempts in a direction which Busoni later pursued no further. These sporadic lyric compositions comprise Op. 15 (Gutmann, Vienna), two songs; Op. 18 (Kistner, Leipsic), two Old German songs; Op. 30 and 31 (Schmidl, Trieste), Album Vocale, four Italian songs and two German songs. Well made though they be, these songs show nevertheless that instru- mental music is the natural idiom of their composer. The piano accompaniments, especially in the Old German songs, are worked out most carefully, but they lack the right proportion to the vocal part, which seems secondary in importance. 72 The Musical Quarterly The early piano pieces, though hardly original in the higher sense of the term, nevertheless rank with the best piano music written in their time, if one excepts great composers in full maturity like Brahms and Saint-SaCns. The second "Scene de Ballet," Op. 20, shows Italian traits in its lightness, its elegance of treat- ment;-indeed, the light hand and a distinct Romanic grace are very distinctive features of Busoni's music. One might describe this composition as a Schumann Novelette translated into Italian. It is dedicated "to his beloved mother and teacher, Anna Weiss- Busoni." During this period were also written Twenty-four Preludes for piano, and following these Seven ]tudes for piano (Op. 16), dedicated to Johannes Brahms, (Gutmann, Vienna). At the age of 16 Busoni wrote a huge score of 300 pages: "I1 sabato del villaggio," to a poem by Leopardi, for soli, chorus and orchestra. This cantata, performed in the Teatro comunale of Bologna, has never appeared in print. The "Variations and Fugue on a prelude by Chopin," Op. 22, are the most extended and most ambitious published work of Busoni's younger years.
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